An all-Black, all-female team at creative agency Cartwright developed “Unbecoming,” a campaign for Procter & Gamble haircare brand My Black is Beautiful. Directed by dayday, this honey-rich work follows Black women and girls as they slowly, tenderly undo their hair.

“When we got this brief, we realized we had never seen undone Black hair and unfiltered Black womanhood celebrated on screen together,” say Cartwright creative partners Chelsea Ceasor and Taylor Whitelow. “By creating a film that starts at the end of the day, we could spotlight the vulnerable moment of Black women ‘unbecoming’ the expectations put on them throughout the day—and champion that as beautiful.”

The ad features soft narration: “When we unravel ourselves, we are free to define beauty as who we are.” The tagline: “Unbecoming is Beautiful.”

The wordplay toys with the idea that, at first glance, “unbecoming” is synonymous with unattractive. But the work reinterprets the term as an untangling of societal expectations. As the narrator says, “They tell women like us that beautiful is something we become. When really, beautiful is something we have always been.”

In this sense, “unbecoming” becomes key to locating one’s inherent beauty. 

Honoring that is more important than being seen as aesthetically “unbecoming” by a supremacist culture, but the visuals also make a careful distinction: This doesn’t mean you stop caring for yourself. Rather, one should focus on intent-driven care, negotiating that delicate balance between self-love and external acceptance.

A study published by the International Journal of Women’s Dermatology, “#BlackGirlMagic: Impact of the Social Media Movement on Black Women’s Self-Esteem,” notes that “In a society that highly values physical appearance and conventional attractiveness [it is imperative] to be aware of the psychosocial impact of mainstream beauty standards that are imposed.”

Building on this, “Unbecoming” is about how Black women increasingly reject those standards. Notably, My Black is Beautiful backs the accelerating shift toward styles and methods that support 4C natural hair. Its products are formulated by Black scientists, Ph.Ds. and dermatologists, with Afrofuturistic packaging inspired by diverse tribal patterns drawn from the African diaspora.

Ceasor and Whitelow drew from their personal experiences to fuel the ad, which aired during the NAACP Image Awards on Feb. 25.

“While Black women love the versatility, pride, and strength derived from their hair, there is inherent tension there,” observes Lela Coffey, P&G Beauty’s VP for North America hair care. “Through ‘Unbecoming’ and our My Black is Beautiful products, we are re-affirming our prioritization of hair health for Black women, with formulas that embrace the inherent beauty of their hair texture.”

“Unbecoming” shares themes with P&G’s acclaimed films “The Talk,” “The Look” and “The Choice.” Here’s a behind-the-scenes:

For more on the larger arc of this campaign, take a listen to our Tagline podcast season finale from 2021. 

“I am incredibly proud of what we have created with ‘Unbecoming,’ in taking the art of transformative storytelling from one of vulnerability, into one of strength and confidence,” says Marc Pritchard, P&G’s chief brand officer. “We take our role as responsible corporate citizens seriously by investing in culturally rich platforms that spark dialogue and create connections between people to make the world more inclusive and that celebrates individuals.”

Backstreet Boys are appearing in a spot introducing Downy Rinse and Refresh odor fighting solution? Please, tell me why!

Of course, that’s a reference to their 1999 mega-hit “I Want It That Way,” which the ’90s pop princes briefly reprise in a cute spot from Saatchi & Saatchi. The group comes to life in a framed wall poster, and naturally, good clean fun ensues. They even goof on fellow (aging) boy-band NSYNC, noting that “Bye Bye Bye” is NOT a BSB tune:

Alas, no nods to Hanson. But that BSB tour shirt doesn’t smell like skunk anymore.

“In most cases, your favorite clothes are something you don’t want to get rid of—specially not because of malodor,” Daniel Lobatón, CCO at Saatchi NY tells Muse. “And when we were looking for something that would resonate with our target, we realized there were certain pieces of vintage clothing that made sense, like band T-shirts.”

OK, that’s clear—and fresh! But why BSB specifically?

“We wanted a band that have a presence beyond nostalgia, and they are having a moment right now with multiple generations thanks to social media,” Lobatón says. “So, it aligned perfectly with our message.”

Plus, the song’s “Tell me why” hook fits the brand message, right?

“Since we are introducing a new category, the lyrics lent themselves to telling people why they need the product and the insight behind it. At P&G during briefings, we often discuss the ‘mind opening why’ behind a product. I guess we took it quite literally this time.”

Yeah, bet they have some rad meetings at P&G alright. Was filming with BSB fun?

“The moment they stood in front of the camera, they rehearsed ‘I Want It That Way’ just to get the notes right, and we felt like we were getting serenaded on set,” recalls Saatchi group account director Jen Brotman. “We couldn’t believe how emotional we all got—there may or may not have been tears in some eyes. The song has always been a karaoke favorite of the team, so we knew which ‘tell me whys’ we wanted them to hit, and we still can’t get it out of our heads.”

The commercial broke during NFL games last weekend and will run across broadcast and streaming platforms.

CREDITS

Downy Rinse & Refresh – Tell Me Why  

Saatchi & Saatchi / Woven Collaborative
Daniel Lobaton – Chief Creative Officer
Ciro Sarmiento – Chief Creative Officer, Woven
Dustin Tomes – EVP, Executive Creative Director 
David Stevanov – Creative Director 
Will Tran – Creative Director
Ben Cascella – Associate Creative Director
Caroline Chase – Art Director
Malcolm Richardson – Copywriter
Danielle Hallack  – Senior Producer
Anna James – Associate Producer
Sarah Beaumont – CEO, Woven Collaborative
Jen Brotman – SVP, Group Account Director
Kohar Shrikian – Account Director
Zaki Khalid – Senior Account Supervisor
Chris Gilbert – VP, Director Experience Strategy
Lisa Rimmer – Senior Business Affairs Manager
Matt McGuire – Senior Project Manager

P&G – Downy
Jenny Maxwell – Senior Brand Director, Downy
Brian Cofer – Brand Director
Erica Yuan – Senior Brand Manager
Matt Lumb – BBIC
Paul Chick – Manager, Advertising Production
Matt O’Shea – Media Director Laundry and FE
Liv Martin – Senior Media Manager FE
Daniel Kelly – Media Manager FE
Ashley Sun – Media Specialist FE  

Platinum Rye Entertainment
Lori Golden – SVP Talent 
Amanda Levine – Senior Director of Music

Smuggler 
Guy Shelmerdine – Director 
Erik Sohlstrom – Director of Photography
Carlin Wilson-Webb – Executive Producer
Rodney Anderson – Line Producer 

Harbor
Senior Editor –  Steve Evans
Senior Mixer – Glen Landrum
Audio Producer – Cammie McGarry
Senior Colorist –Oisin O’Driscoll
Color Producers – Brad Martin, Maxwell Hadson
Supervising Producer – Lena Lobel

VFX
VFX Supervisor: Phil Crowe
Executive Producer: Lexi Stearn
2D Lead: Keith Sullivan
CG Lead: Tom Bardwell
Producer: Anna Borysewicz
Production Coordinator: Sebastien Le Coz
2D Artist: Adam Deutsch
2D Artist: Jade Kim
2D Artist: Shauna Prescott
2D Artist: David Sanati
CG Artist: Juan Zavala

It was an unlikely place for a feminine hygiene brand to bring its message of female empowerment—the Super Bowl, the most testosterone-fueled event in the world. Yet that’s also why it was perfect. Leo Burnett had turned the phrase “like a girl” on its head with a three-minute viral film in 2014. But the 60-second cut on the 2015 Super Bowl would bring the message to so many more people. Hear from our panel experts—including Judy John herself—all about this milestone event from seven years ago.
 
Featuring:

• David Lubars, Chairman/Chief Creative Officer, BBDO
• Judy John, Global Chief Creative Officer, Edelman
• Matt Wallaert, Behavioral Science Expert
• Tim Nudd, Editor in Chief, Clio Awards and Muse by Clio

See more episodes of our series below:

The Sad, Somber Hilarity of Monster.com’s ‘When I Grow Up’

Chrysler and Eminem’s Epic Salute to Detroit and Its Auto Industry

The Enduring Charm of Coke’s Mean Joe Greene Ad

The Night Alexa Lost Her Voice but Spoke Louder Than Ever

Eli Manning on His NFL Ad and Those Sweet Dirty Dancing Moves

The NFL’s Epic Super Bowl Ad That Was 100 Years in the Making

When Every Ad Was a #TideAd: How P&G Hijacked the Super Bowl

Nothing but Net: Jordan and Bird’s Epic Showdown for McDonald’s

How Reebok’s Terry Tate Smashed His Way Into Super Bowl History

Cindy Crawford for Pepsi: Two Icons, One Perfect Super Bowl Ad

Budweiser’s ‘Puppy Love’ … the Cutest Super Bowl Ad Ever?

How Doritos and Mountain Dew Created a Rap Battle for the Ages

Betty White and Snickers: A Match Made in Super Bowl Heaven

As a kid, I was always wondering about the lives of others. Where they were going, what they were doing, what they were eating, what made their lives easy or hard. I can actually pinpoint one specific night when I couldn’t fall asleep, as I lay in bed and looked out at the sky; I could really see all of the stars and I remember wondering what the other kids my age were doing at that exact same moment in time. All of these different kids around the world, just staring up at the same sky.

I would also think about people from different circumstances, some 20 minutes away, some across the country or even overseas, and wondered what their lives were like. My own life wasn’t easy growing up, but it was also a hell of a lot of fun. I tried to see the best in every experience and in everyone.

As I got older and I began to discover more of the world out on my own. I would meet people and instantly find myself thinking about what they went through to get to where they are. What was their journey like? Was it similar to mine, or was it very, very different? How did we end up in the same place at the same time? In the end, though, we are all just living, and that is when I became truly obsessed with humanity. It comes with it all—the good and the bad—and to me that will never not be fascinating.

As I began to develop my career in advertising, it also became very clear that the brands that resonate with us have a way of weaving a thread of humanity into their messaging with just a subtle delivery of the actual company. This can be done in so many clever ways, including using humor, drama and information in the delivery. But in the end, it doesn’t matter which method is used, as long as it connects on a visceral level with an actual person on the other side. Not an algorithm or data points, just a human being … the same as you and I.

Because when brands can take data and mix it with human-centric ideas, that is when the magic happens.

Over the last several years, Procter & Gamble has made a conscious effort to take on an actual march toward humanity. As one of the world’s most prominent marketers, it has tremendous reach and can truly affect how we view ourselves on a cultural level. Many of its campaigns have won awards for these kinds of efforts, but if it were creating a novel with its work, this next chapter would be the one that truly makes the pages turn. Because it’s taken Vicks, a flagship product that treats people when they feel their lowest when it comes to seasonal touches of cold and flu, to the highest level of humanity.

If we metaphorically take Vicks and turn it into a living, breathing part of an individual’s journey, you get the campaign it is running today. Working with Publicis Singapore, the brand has produced a series of authentic video experiences called “A Touch of Care” that tell the stories of triumph and victory over turmoil, without once mentioning the flu or a stuffy nose; only showing humanity through the eyes of people worldwide.

In my opinion, the most powerful video to date was released over the summer, sharing the true story of Dr. Dnyaneshwar Bhosale, a pediatrician from Latur, Maharashtra, who lost his life to Covid-19 last year. Vicks is now contributing toward his dream of building a large hospital in a village. Most marketers make the mistake of overselling the product in an execution, but not this time. With these emotional stories being the thread that connects the brand to the consumer, its voice rings through perfectly, without ever having to sell a thing.

At The Perception, we use the phrase “Altogether Human,” meaning people respond to people who understand them. We try to bring humanity to everything we do because I genuinely believe that insight and authentic emotion, not just data, deliver in the end.

“We wanted to fill the space of hate that the world witnessed with something positive,” Saturday Morning co-founder Geoff Edwards tells Muse. “We decide to fill that space with uplifting stories told by storytellers that aren’t yet household names.”

The team received 25 project submissions, and Tribeca steered development on the final four films, with P&G footing the bill.

“The challenge was tone,” Edwards recalls. “We all witnessed those horrific 8 minutes and 46 seconds—so using that time to tell a different story of levity and joy was difficult. But they did it.”

Here’s a rundown of the program:

She Dreams at Sunrise by Camrus Johnson employs bold, playful animation to depict an elderly woman’s vibrant fantasy world and her great-nephew’s quest to help appreciate reality. “Camrus was a caretaker for his great aunt, and he was passionate about telling this story,” notes Edwards.

Pearl and Henry by Gilbrey Allen explores the relationship of a couple who enjoy simple pleasures through the decades. “It reminds me of a play,” Edwards says. “It’s so simple. Two characters. One premise. It shows Black compassion like nothing I’ve seen before in a short.”

In Cupids, Zoey Martinson tells the lighthearted tale of three youngsters who help their school bus driver find the perfect romantic match.

Edwards describes Marshall Tyler’s Slow Pulse as “the most unique story of the four. This film could have a life beyond this show.” Told in riveting, rhythmic style, with dancing as a central metaphor, it examines a father’s devotion to his coma-bound son.
 
“The process of working on something so important and meaningful was cathartic,” Edwards says. “It helped us cope with the pain. Nothing we could do will change history, but we wanted to take a bold swing.”

8:46 Films follows other brand efforts to help Black storytellers tell their truths in fresh, exciting ways. Examples range from Vimeo and Mailchimp’s videos about minority-owned businesses to Apple’s ads from 33 Black artists and Square’s stirring study of diverse SMBs.

…with those of loving moms—long a focus of P&G’s marketing across various channels—teaching their kids life lessons along the road to Olympic glory.

“We created this film before the Tokyo Games were postponed, but we feel that its message of love is more relevant than ever,” P&G chief brand officer Marc Pritchard said in a presentation last week. “P&G believes the Olympic Games have a tremendous power to unite the world through sport.” (Nixed last year amid Covid-19’s first wave, the Summer Games are set to begin July 23, with P&G returning as a major sponsor.)

Created by Wieden + Kennedy Portland, the spot closes with the line, “We can be the people you taught us to be,” and the hashtag #LeadWithLove, both of which P&G introduced in ads last year.

Next, a :60, also from W+K, shows elite athletes performing acts of kindness on the field of play and in their communities. In a notable touch, it’s voiced from the perspective of proud parents, with Marlene Felix, mother of track and field star Allyson Felix, contributing to the narration.

“Your whole life, you’ve done things I could’ve never imagined doing—things almost no one in the world can do,” the ad begins. “But I’m proud of you for something else. I’m proud of you for doing the things we could all be doing. The things you do not for yourself, but for others. Things that matter … and I can’t wait to see what you do next.”

Allyson Felix and basketball standout Elena Delle Donne, both Olympic gold medalists, appear, along with Shigo Kunieda from Japan, a winner of Paralympic gold for wheelchair tennis.

Well timed to Mother’s Day on Sunday, the films deliver a worthy message, celebrating the stuff in life that matters most but often flies under the radar, with no gold medals or Wheaties boxes as rewards.

Felix also features in an installment of P&G’s “Good Is Gold” film series, which profiles individual competitors.

CREDITS

—CLIENT PROCTER & GAMBLE
PROJECT NAME LOVE LEADS TO GOOD

W+K PORTLAND
ECDs ERIC BALDWIN & JASON BAGLEY
Creative Directors DARCIE BURRELL & AZSA WEST
Art Director NADIA AHMAD
Copywriter DEREK SZYNAL
Director of Production MATT HUNNICUTT
Director of Film BEN GRYLEWICZ
Executive Producer HAYLEY GOGGIN
Agency Producer AMY BERRIOCHOA
Associate Producer CECILIA RAMIREZ
Brand Director SARAH LYNCH
Group Brand Director COURTNEY NELSON
Design Ops Manager/Design Producer ALICIA KUNA/ ALEX SANCHEZ
Group Strategy Director ZACK JEROME
Creative Operations Manager BROOKE SALISBURY, KATE OLIVER
Business Affairs LAURA CALDWELL
Broadcast Traffic ZAC ROSEVEAR, QUINN HILL
Brand Executive EMERY BARNES

PRODUCTION
Production Company SMUGGLER
Director MILES JAY
Executive Producer ALLISON KUNZMAN
Line Producer SAUL GERMAINE
Director of Photography CHAYSE IRVIN
Production Design/Art Direction AKIN McKENZIE

EDITORIAL
Editorial Company WHITEHOUSE POST
Editor CHARLIE HARVEY
Assistant Editor TAYLOR SCHWARTZ
Post Producer ANNIE MALDONADO
Post Executive Producer JOANNA MANNING

COLOR
Company COLOR COLLECTIVE
Colorist ALEX BICKEL

ORIGINAL MUSIC COMPOSITION
Music Supervision WE ARE WALKER
Composer DUSTIN O’HALLORAN

VFX
VFX Company A52
VFX Supervisor
VFX Shoot Supervisor
PAT MURPHY
JESSE MONSOUR
CG Supervisor
CG Lead
ANDY WILKOFF
BRIAN WHITE
2D Artists STEFAN GALLIOT, CHRIS RILEY, MICHAEL VAGLIENTY, RICHARD HIRST, JOHN VALLE
3D Artists TOM BRIGGS, JAEMIN LEE, DUSTIN MELLUM, PAULO DE ALMADA, JOEY BETTINARDI, MICHAEL CARDENAS, JIE ZHOU
Roto Artists: ROTOMAKER
VFX Producer MICHAEL STEINMANN, SERENA NOORANI
VFX Executive Producer KIM CHRISTENSEN & PATRICK NUGENT
Managing Director JENNIFER SOFIO HALL

SOUND DESIGN
Sound Designer BRIAN EMRICH

MIX
Music/Sound/Mix Company JOINT
Audio Mixer/Sound Engineer NOAH WOODBURN
Audio Producer JEN MILANO

—CLIENT Procter & Gamble
PROJECT NAME Your Goodness is Your Greatness

W+K PORTLAND
ECD Eric Baldwin
Managing Director Jess Monsey
Creative Directors Kevin Jones, Patty Orlando
Art Director Derrick Ho
Copywriter Becca Wadlinger, Brock Kirby, Max Stinson
Director of Production Matt Hunnicutt
Executive Producer Heather Hanrahan
Senior Producer Katie McCain
Associate Producer Katie Schaller
Group Brand Director Thomas Harvey
Brand Director Sarah Lynch
Head of Strategy David Terry
Business Affairs Teresa Lutz
Broadcast Traffic Quinn Hill
Creative Operations Manager Lindsey Reightley

PRODUCTION
Production Company Ways & Means
Executive Producers Lana Kim, Jett Steiger
Head of Production Lauren Skillen
Director / Director of Photography Natasha Braier
Line Producer Serene Bynum

RESEARCH
Footage Research & Clearance Nickerson Research, Inc.

EDITORIAL
Editorial Company JOINT
Executive Producer Kathleen Russell
Editor Peter Wiedensmith
Cutting Assistant Ian DeVore
Producer Dina Ciccotello
Associate Producer Izzie Raitt

VFX
VFX Company a52
VFX Supervisor Patrick Murphy
Flame Artists Chris Payne, Kevin Stokes, Richie White, Rod Basham
Online Editors Kevin Stokes, Sam Kolber, Noah Poole
Animators Bruno Ferrari, Nader Husseini
Producer Andrew Rosenberger
Head of Production Stacy Kessler-Aungst
Executive Producers Patrick Nugent, Kim Christensen
Managing Director Jennifer Sofio Hall

COLOR
Company Primary
Primary Colorist Daniel de Vue
Assistant Colorists Corey Martinez, Dylan Bursick
Producer Jenny Bright
Executive Producer Thatcher Peterson

MIX/SOUND DESIGN
Sound/Mix Company JOINT
Audio Mixers Noah Woodburn, Natalie Huizenga

LICENSED MUSIC
Artists Ludovico Einaudi, Federico Mecozzi, Redi Hasa
Composer Ludovico Einaudi
Track Name Golden Butterflies (Day 1)
Label Ponderosa Music&Art, Milan, IT

Episode 9 guests

• Marc Pritchard, chief brand officer, Procter & Gamble
• Nedal Ahmed, senior copywriter, Wieden + Kennedy Amsterdam
• Bryan Barnes, creative director, Johannes Leonardo
• Malik Vitthal, director, The Corner Shop, 
• Greg Hahn, co-founder and chief creative officer, Mischief USA
• Geoff Edwards, executive creative director, GALE Partners
• Keith Cartwright, president and chief creative officer, Cartwright
• Justine Armour, chief creative officer, Grey New York
• John Patroulis, global chief creative officer, Grey Group

Procter & Gamble | The Talk

Procter & Gamble | The Look

Procter & Gamble | The Choice

Black people in movies and TV series are often viewed through a ridiculously narrow lens, portrayed as thugs, victims or other stereotypes whose fate seems predetermined regardless of the storyline.

Procter & Gamble’s “Widen the Screen” initiative strives to change that dynamic, empowering Black creators to tell their truths and display the depth, breadth and vibrancy of their communities.

The thought-provoking short film below seeks to subvert audience expectations.

We watch two Black youngsters enter a convenience store, eyed with trepidation by the owner. Will the kids shoplift? A violent episode appears primed to explode before our eyes.

In separate threads, a pregnant African-American woman walks her kids to the bus stop, while a young Black dude wearing gold bling bangs loudly on a door.

How might white or Black viewers, inundated by untold hours of Hollywood fare, produced for the most part by the white entertainment establishment, expect such scenarios to resolve?

“If you think you know what happens next, ask yourself why,” begins Academy Award-winning narrator Mahershala Ali, over moody scenes sculpted by Oscar-nominated director Kevin Wilson Jr. “These are the Black stories we’ve been shown. A narrow view that limits our understanding. But there’s so much more to see—the full picture of Black life.”

Over the course of the spot’s two minutes, each narrative strand ends happily. These logical, life-affirming wraps almost feel like surprise endings, given some viewers’ assumptions.

“Let’s widen the screen so we can widen our view,” Ali concludes.

P&G developed the project with Grey New York. It also includes the brief interview/behind-the-scenes clips below. Talent from both sides of the camera discuss Black imagery in mass media, and what can be done to foster inclusivity.

“For me, widening the screen is basically taking a look at life in the middle for Black people, a normalization of Black life to allow people to see themselves,” says actor Njema Williams.

“We need more Black storytellers that come from an authentic place, and not just one person, because we’re not a monolithic people,” adds sound mixer Chykeria Thompson.

As part of the push, P&G fashioned this website, which outlines its efforts to fund and encourage Black creators at all levels. Such efforts include a new content deal with LeBron James and Maverick Carter’s Spring Hill Entertainment, and supporting Queen Latifah’s Queen Collective, which backs Black women writers and directors. P&G will also work with collective Saturday Morning to craft scripted stories told in 8 minutes and 46 seconds (a reference to the killing of George Floyd and a symbol of police brutality).

“Widen the Screen” shares themes with Ghetto Film School’s recent campaign supporting multicultural creativity, and Apple’s ads from 33 Black artists, commissioned to capture the soul of their hometowns using iPhones. Vimeo and Mailchimp explored the vitality of minority-owned businesses in a video series from filmmakers of color.

Below, P&G chief communications officer Damon Jones and Grey associate director Ben Howard discuss “Widen the Screen” in greater detail.

Muse: Can you explain the campaign’s genesis?

Damon Jones: The idea originated from the knowledge that 6 percent of writers, directors and producers of U.S. films are Black. The visual of that narrow screen [which appears in the interview clips] inspired the idea and program name. Because Black filmmakers are not given enough opportunity to share real stories of Black life, the images that we are shown in advertising, media and film are stereotypes that reflect that limited narrow and racist view of the Black experience.

Does this represent a new chapter in P&G’s focus on diversity?

Jones: It is a significant expansion of the work we started with “The Talk,” “The Look” and “The Choice” to address systemic bias, racism and inequality. However, we knew we could do more to provide a sustained and systemic impact by bringing our efforts under one umbrella to provide expansive content creation, talent development and joint partnerships that enable increased inclusion of Black creators across the advertising, film and television industries. This key shift provides a broader and deeper impact.

Why this intense focus on media tropes?

Jones: As a corporate citizen and one of the world’s largest advertisers, P&G has an opportunity to serve nearly 5 billion consumers around the globe and aims to be a force for good and a force for growth. Through P&G’s brands, the company has greater awareness of bias that exists in many forms. We want to spark conversation that can motivate change and create new expectations for people, to help drive equality and inclusion for all. We recognize there are different challenges for different people, and we address those challenges uniquely to meet the need. We continue to learn and grow from the work we do to support LGBTQ+ visibility, gender equality, and racial and ethnic equality to drive lasting impact and change.

Can you talk a bit about making the anthem film?

Ben Howard: We had a majority Black cast and crew. Our director, DP, sound technician, line producer, gaffers, makeup and wardrobe stylists were all Black. This made for a powerful and electrified dynamic.

There was a moment, after wrapping the first scene, where we looked around and saw the laughter and joy of everyone involved. It was an emotional moment. For many, it was the first time we had ever been a part of a predominantly Black cast and crew, and where we all could relate to the message of the film. One of our actors, Al-Teron [Williams], spoke about how he’d typically been type cast for thug roles and how the film we’re creating can work to change that monolithic view of Black men.

How will “Widen the Screen” evolve?

Jones: The effort also expands into addressing systemic investment inequalities in the media and creative supply chain by reaching out directly to Black-owned and -operated providers to enable more access to P&G. We are also working with business partner and creative agencies like ADCOLOR and the Marcus Graham Project to build the pipeline and support Black talent in the industry through recruiting, career development, training opportunities and employment.

CREDITS

P&G Widen the Screen Creative & Production Credits

Creative Agency: Grey New York
Client: Procter & Gamble
Title: Widen the Screen

Worldwide CCO: John Patroulis
CCO: Justine Armour
CCO: Keith Cartwright
Executive Creative Director: Joe Mongognia
Associate Creative Director/Art: Ben Howard
Associate Creative Director/Copy: Alvaro Soto
Copywriter: Abigail Hoeflinger
EVP, Account Director: Debby Reiner
SVP, Account Director: Lisa Montana
VP, Account Supervisor: Allison Lane
Planning: Jhanell Biggs
Planning: Juliana Diatezua

Director: Kevin Wilson, Jr.
Voiceover: Mahershala Ali

Production Agency: Townhouse
Chief Production Officer: James McPherson
Executive Integrated Producer: Rondell Wescott
Business Affairs Manager: Vicky Giovanis
Talent Manager: Natasha Howell
Music Producer: Kurt Steinke
Music Producer: David Lapinsky

Production Company: Chelsea Pictures
Editorial Company: Work Editorial
Telecine Company: Electric Theatre Company (ETC)
VFX Company: Electric Theatre Company (ETC)
Audio Finishing: Sound Lounge
Music Company: Found Objects
Sound Design Company: Sound Lounge
Casting Company: Kelly Tippens Casting
Picture Finishing: Electric Theatre Company (ETC)
BTS Photography: Apostrophe Reps
BTS Video: Two Fifty Media

Music by Found Objects
Trevor Gureckis – ECD
Jay Wadley – ECD
Ben Marshall – Creative Director
Composer – Gary Gunn
Adam Weiss – Creative
Jennie Armon – Executive Producer
Matt Nelson – Head of Production
Katt Matt, Nick Chomowicz – Producers
Agatha Lee – Associate Music Producer